many joys to pass on from today; first, a mini-blog from Nina Whiteman, who'll be joining us from Saturday evening for the 2nd week of the installation:
I'll be joining the project tomorrow for the final week and I'm interested in exploring traces of the activity of the two collaborators who are departing as I arrive. These traces might be sound recordings, fragments of scores, found or created objects...
I will also be thinking about creating auto-destructive work that will break down or disintegrate over time, and about the local fishing industry and the objects and rituals associated with it. Nina Whiteman (composer/voice)
Then a super-packed day: a coastal walk, a big push on the making side of things (with Sarah & Gary departing Sunday morning, they are deeply into getting as much creative activity done as they can); this followed by an afternoon with some really engaged Tate Members & both an afternoon & evening performance (including live painting by Clare Wardman to sound by the musicians). Our audiences have been a real pleasure - curious, engaged, discursive. We share some of their photos in the post following this, but first a piece of writing from one audience member, Rod Griffiths, who puts into a few words a lot about what we're trying to do:
What is a trace? A slight thing, a remnant, a copy made on tracing paper? Or reins to hold horses together, cutting those traces, lets the horses run free.
Are all these the same thing? Is there a deeper meaning, a common thread of shared understanding?
Tracing can be a process, following something that came before, like a detective.
Beneath that following there may be finding; revealing lineage, events, history; traced, or perhaps gone — without trace.
Traces matter, they hold us together, reveal a shared history; cut those traces and will we be free or will we be lost?